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CLASS:PUBLIC
CREATED:20260609T145423Z
DESCRIPTION:How to Perform a Whole City? –––\n\nRimini Protokoll’s work differs from most documentary theatre and resembles performance art: it tends to take place in a version of “real time” rather than “dramatic time.” Whether one thinks of the German political documentary theatre of the 1960s (Weiss, Hochhuth, Kipphardt); major U.S. documentary performances from the 1970s on (Emily Mann, Anna Deavere Smith, Moisés Kaufman); or British work in so-called “verbatim theatre” from the 2000’s ("My Name is Rachel Corrie," Robin Soan’s "Talking to Terrorists," Nicholas Kent’s "Justifying War"), the signified is always primarily elsewhere, already happened, is just re-enacted or referred to. Bringing everyday experts onto the stage (rather than actors re-performing interviews of those experts) already contributes to this quality of presence in real time, so that even when the everyday performers tell a story about themselves or re-enact an event from their lives with the help of other everyday colleagues (both things happen frequently in Rimini Protokoll’s work), the present time of narration becomes as important as the referred-to past. But then Rimini Protokoll often further emphasizes real time play through structural, quasi-game elements! –––\n\nIn the second workshop session we will focus on the project "100% City" and develop own performance scores and rule sets.
DTEND;TZID=Pacific/Honolulu:20180404T231500Z
DTSTAMP:20260609T145423Z
DTSTART;TZID=Pacific/Honolulu:20180404T220000Z
LAST-MODIFIED:20260609T145423Z
LOCATION:iLab
PRIORITY:5
SEQUENCE:0
SUMMARY;LANGUAGE=en-us:Helgard Haug (Berlin): Rimini Protokoll Theatre Workshop – Day 2
TRANSP:OPAQUE
UID:178105286332759web-support-l@lists.hawaii.edu
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